Schiaparelli and Prada: Impossible Conversations, Exotic Body Gallery

The front row of the press preview today was a who’s who of fashion journalism’s elite and included Anna Wintour and exhibition subject, Miuccia Prada, they sat a mere three rows in front of me, Sally Singer, Hamish Bowles and Susy Menkes (in purple from head to toe) two rows ahead, and everyone else was seated in random order to hear the opening remarks of curators, Harold Koda and Andrew Bolton. Mr. Koda, Curator in Charge, is always a pleasure to listen to, he wields the kind of authority that is compelling and unassuming at the same time. He is truly one of the very few “fashion insiders” who is authentically interested in what people think about fashion, rather than imposing his viewpoint and forgetting the populist influence that style and trends absorb by osmosis. I do enjoy listening to Mr. Bolton as well; his view of the exhibitions he works on is always acutely constructed to reflect the academic nature of fashion — all the cultural perspectives we should take note of while ooh’ing and ahh’ing our way through the galleries.

Neck Up– Knees Down Gallery from Schiaparelli and Prada: Impossible Conversations

The exhibition is centered around a theoretical conversation that the designers might have had if they hadn’t been born sixty years apart (Schaiparelli came first, btw). Both woman have a strong viewpoint, and yet both responded to their circumstances and times differently. Schiaparelli catered to cafe society so her focus took place from the waist up (all the better to be seen from above the table) whereas the exhibition proposes that Prada’s emphasis was from the waist down in many instances. Skirts and shoes feature here, although I will toss a wrench in this well-tooled frame of reference by adding here that Prada is a known collector of antique jewelry, and much of her clothing in the past has been influenced by her quiet passion, be it in embroidery, Prada jewelry, or wearing a tiara while taking a bow on the runway. So she is more than aware of what goes on upstairs.

Schiaparelli collaborated with surrealist artist, Salvador Dali, so what should we expect from such an incendiary mix? You guessed it. Bugs on a collar of plexiglas — creeping their way onto a dress, red lobster motifs in jewelry and on white dresses, fire-gilt ormolu that passes as a necklace — the world of ornament was limitless: no boundaries, no protocols, and certainly no dictates. Art blended with fashion, clothing became a statement of being rather than a message in the moment. The few pieces of jewelry on display speak to Schiaparelli’s inexhaustible choices and her sense of humor and irony. Prada’s ideas about jewelry are not as apparent in this exhibition although if you look closely at the way she embellishes a skirt with paillettes, cracked mirrors, beads, and embroidery; her opinion on jewelry is celebrated in those details, and that brilliance that adds up to a swath of cloth. Perhaps we cannot wear a necklace around our fully clothed hips, yet Prada suggests that our lower halves deserve the same attention as a neckline, a wrist, a finger, or an earlobe. With just a little sparkle, scintillation surely follows.

PROPERTY OF PRINCE FILIPPO CORSINI Fancy deep yellow diamond and diamond brooch The 7.33 carat Fancy deep yellow diamond was offered to the Corsini family by Bonnie Prince Charlie in the 1770s Est. CHF 280,000–480,000 ( $300,000–500,000)

On April 5, 2012, historian Gregor Ewing began his six-week journey to retrace the five-month flight of Charles Edward Stuart, also known as Bonnie Prince Charlie, after his defeat at the Battle of Culloden on April 16, 1746. It was a dangerous and physically rigorous escape across the Western Scottish Highlands and Islands, particularly for a prince who was the son of the Old Pretender, James Francis Edward Stuart, and grandson of the deposed James II of England. He landed on the shores of Scotland in July 1745 in an attempt to oust King George II and his Hanoverian line from the throne, which had become the birthright of his family in 1603 when King James VI of Scotland had travelled south to become King James I of England and Ireland. The Battle of Culloden was the last full-scale conflict ever fought on British soil. The Prince evaded capture, despite the great price placed on his head, and eventually made his way to France and Italy where he lived in exile. On his way to the ship that would take him to France, the Prince dressed as a woman while being rowed across the sea of the Hebrides by a woman named Flora MacDonald.

Charles Edward Stuart circa 1750

On May 14 and 15th the historical diamond brooch above will be sold at Sotheby’s Geneva, together with other noble and magnificent jewels, The Beau Sancy and The Murat Tiara, as well as the personal collection of Suzanne Belperron. The diamond brooch is centered by a 7.33-carat Fancy deep yellow diamond that comes from the collection of Prince Filippo Corsinsi, a descendant of the Florentine family whose history dates to the twelfth century and whose lineage includes several popes. The yellow diamond was offered to the Corsini family by Charles Edwards Stuart in the 1770s, in gratitude for their support during his years of exile. Sotheby’s adds a notation that the diamond was possibly inherited by the Prince through his mother, Marie-Clementina Sobieski, granddaughter of King John III of Poland, which would then be considered part of the Sobieski Jewelry Collection.

I’m off on a new adventure next week and working on a couple of projects, see you back here in May!

Huguette Clark auction at Christies; Picture frame and Cartier clock

This past Friday I had a quiet, uninterrupted view of the offerings from the upcoming Huguette Clark and Mrs. Lily Safra auctions. Chrisitie’s New York will be selling the jewels of Ms. Clark’s estate on April 17th. The auction previews were set up quite beautifully, as well as thoughtfully; each auction’s property has it’s own room and wonderfully presented vignettes. Ms. Clark’s presentation included vintage photographs of herself as well as a painting of her at her easel — she was a dedicated artist and had her own studio within her NYC apartment. Having spent more than sixty years in a bank vault, the jewels she was given and inherited from her family were personal, but not in a formal way. In fact, I was taken with the modernity of the pieces and their superb quality. A pair of Cartier natural pearl, gold, and emerald drop earrings from the 1920s were as wearable today as it was when they were made. The pink diamond Ms. Clark inherited from her mother was mounted in elegant setting by Dreicer & Co. although when I ask Christie’s head of jewelry, Rahul Kadakia, if the gem was older than its setting (it had a large, open culet, and the cut was of the old gem quality), he confirmed my observations and told me he thought the gemstone was likely cut during the mid-nineteeth century; the stone has a poetry to it that you really don’t see very often and won me over. Touchingly, the first case included two jeweled picture frames, one that included a fine watercolor portrait of her sister who had passed away as a teenager, a tremendous blow to Ms. Clark, according to Kadakia who gave a brief presentation. In her later years, Ms. Clark, a copper heiress, was reclusive, choosing to live a quiet life and died at the age of 104. The pieces were found all in their original boxes, which is rare in and of itself — jewelry kept in this manner remains, more often than not, in wonderful condition.

Huguette Clark auction at Christie’s: A Belle Epoque cushion cut fancy vivid purplish-pink diamond

Lily Safra auction at Christie’s: JAR Poppy Brooch

Lily Safra auction at Christie’s Geneva: JAR diamond camellia flower bracelet

I made my way into the next gallery where the cases displaying the property of Mrs. Lily Safra, wife of banker and philanthropist Edmond Safra, I have to say that the difference between the two auctions is notably striking in character and feeling. The only way I can compare it is to ask you a cultural question: what’s the difference between a production of Stephen Sondheim’s A Sunday in the Park with George and Arthur Miller’s Death of a Salesman? Both have amazing stories, both are authored by hugely accomplished writers, both are equally moving in theme and scene, and they are perennial favorites on Broadway. The difference isn’t even in audience. Plenty of people would see either, or both, me included. It’s mood. one is known for its thought-provoking language and symbolism, and the other for its haunting music and poetic representations. The Lily Safra auction is remarkable for not only the jewelry, eighteen pieces of which were custom orders made by Joel Arthur Rosenthal, also known as JAR, but also for the fact that all proceeds will benefit the philanthropies support by the Safras. Another notable fact about this sale is that it is the largest offering of JAR designs ever to come up on the auction block. The JAR Poppy Flower brooch up for sale was part of the 2002 exhibition held in London, which viewers could only view by flashlight; the brooch is also on the spine of the highly collectible book/catalog that accompanied the exhibition. One of the non-JAR highlights of the auction is the “Eglantine” necklace by Cartier. Made around 1906, the platinum, diamond and emerald design is one of the most beautiful necklaces I have ever seen in all the years I’ve spent looking at jewelry. I would have loved to see its reverse, which I have no doubt was equally resplendent technologically.

Lily Safra auction at Christie’s Geneva: Cartier “Eglantine” platinum, diamond and emerald necklace circa 1906

Lily Safra auction at Christie’s Geneva: 19th century double row emerald bead necklace with diamond and emerald clasp

When I finally came up for air, after all, these are breath-taking exhibits, I walked over to the next gallery where on display were several jewels that will be sold in Geneva for Christie’s Magnificent Jewels sale. A wonderfully informative guy offered to show me a few of the pieces and I was so interested in his explanations that I failed to ask him his name (shame on me and I am sorry, if he should read this). He took out an emerald ring which if my memories serves me correctly was roughly thirty-five carats, give or take, and it was un-oiled. For centuries, emeralds have been oiled to improve their appearance; this is an accepted practice in the industry. I have never seen an emerald that has not been oiled and this one wasn’t because the unique properties it possesses. It was an incredible color, more of a deep blue green than other emeralds I’ve seen. It was mounted in a simple ring setting that just happened to fit me perfectly and so I slide it onto my right hand ring finger. It was a large, exquisitely cut emerald shape, and I’m always so surprised how this elegant silhouette works on nearly every woman’s hand, regarding of the size of her fingers, and I, at 5’2″ have small hands and not particularly long digits. Well, if admiration counted as currency, then my husband would have an easy time adding this to my collection, but we have two more young men to get through college after our eldest graduated last year, so the color and clarity of that stone will have to be my lesson to take away from this experience. All in all, it was a memorable day at Christie’s, and afterward I met up with our son Joshua for his birthday lunch at Oceana. No matter how many fabulous jewels I see in the world, the ones most precious are those that really belong to me.

Song of Songs Pendant by Ester Shahaf

I just couldn’t get to a post this week, sorry. All of our boys are home, and in addition to that, it’s our 26th wedding anniversary today, our youngest’s birthday is on Sunday and we’ve got family joining us for the holidays.

A sweet Passover and happy Easter to all!

P.S. For those who were wondering about Tiffany’s recently touted Rubedo line, an April 4, 2012 story in the NYT explains what it is here.

Van Cleef & Arpels diamond tiara worn by Princess Grace for Princess Caroline’s pre-wedding ball in 1978

Julia Roberts wearing a circa 1976 Van Cleef & Arpels diamond tiara in MIRROR MIRROR

Van Cleef & Arpels circa 1976 diamond tiara worn by Lily Collins in MIRROR MIRROR

Today it was announced by Van Cleef & Arpels that a diamond, platinum, and white gold diadème (french spelling) will have a role in the greatly anticipated film, MIRROR MIRROR. Created in 1976, this remarkably lovely jewel boasts one 144 diamonds totaling 77.34 carats. The head piece was on display at the Cooper-Hewitt National Design Museum exhibition “Set in Style: The Jewelry of Van Cleef & Arpels” in New York in 2011. Rumor has it that the diadem may also have been worn by Princess Grace of Monaco for Princess Caroline’s pre-wedding ball in 1978. There is a terrific article by Eric Wilson in today’s NYT about the costumes for the movie designed by Eiko Ishioka, who died this past January. Her work influenced fashion designers such as Alexander McQueen, Issey Miyake, and Victor and Rolf. This isn’t a first movie credit for the venerable jewelry house, they also contributed to bringing the Duchess of Windsor to the party in her famous zip necklace in THE KING’S SPEECH.

A ruby and diamond Camellia flower brooch, by JAR, 2003 Estimate: $1,200,000–1,500,000 Photo: Denis Hayoun — Diode SA, image courtesy of Christies Geneva

Please click on the image above for a larger, more breathtaking view.

It began in December 2011 with the Elizabeth Taylor auction at Christies. Shortly following will be The Hughette Clark sale, taking place at Christies New York on April 17th. Ms. Clark lived reclusively and long, to the ripe old age of 104. Her jewelry was said to be tucked away in a bank vault for more than sixty years. Under the hammer goes the collection of billionaire Lily Safra at Christies Geneva on May 14th. Later this year, September, the remarkable collection of New York society matron Brooke Astor, who passed on at 105 years young, will be sold at Sothebys. For jewelry lovers of all stripes, this is the year of the auction preview. For collectors, every one of these sales is a field day.

Next week I will have my review of Dior Joaillerie…!

Brooke Astor, image by Ron Galella

Brooke Astor was among the last of the “Grand Dames” of New York matron society. When she lent her name and her financial support to an institution, the endorsement was a seal of approval that inspired the generosity of others. Married for the third time to Vincent Astor, the son of John Jacob Astor IV who died on the Titanic, she led a life devoted to philanthropy and taking pleasure in parties most of us only get to read about the next morning. She did all of this until age of one hundred, perhaps a wee bit longer, and passed away at 105 in 2007. In her will, her tombstone was to say simply that, “I had a wonderful life.”

Evidence of Mrs. Astor’s pleasurable days also take tangible form in the way she decorated her homes, the art she enjoyed, and yes, her jewelry too. The lion brooch below is reminiscent of the familiar statuary standing guard outside the New York Public Library, an institution that Mrs. Astor supported and in fact will be among the several organizations benefitting from the sale of her property in September. I look forward to sharing more images of Mrs. Astor’s collection with you in the near future.

Brooke Astor, The main staircase at Holly Hill, showing a selection of dog pictures. Image courtesy of Sotheby’s

Van Cleef & Arpels New York, Lion Brooch. 18 Karat Gold, Fancy Colored Diamond, Coral and Ruby. Estimate $20/30,000. Image courtesy of Sotheby’s

An Emerald and Diamond Ring set with a Colombian emerald weighing 22.84 carats (estimate $100/150,000), and an Emerald and Diamond Necklace, circa 1965 (estimate $250/350,000). Image courtesy of Sotheby’s

A view of the drawing room in Mrs. Astor’s New York City apartment, including a selection of Old Master drawings and Chinese export porcelain. Image courtesy of Sotheby’s

Dior Joaillerie, Preface by Victoire de Castellane, Text by Michèle Heuzé

Dior Joaillerie was passed along to me for review and I’m so impressed with the book that my review won’t be forthcoming for a few more days. I want more time to drink it in. I’m very taken with Victoire de Castellane, and have been since her appointment at Dior. Can you tell that I am a huge fan? Ouah! What she has accomplished is remarkable because she has taken all the whimsy, irreverence, and joie de vivre from costume jewelry design (and her days designing for Chanel) and translated it into fine and important pieces for Dior. De Castellane is among the handful of rock-star designers who have upended contemporary jewelry design.

A children’s book about her designs and the designer herself would have many fans, young and young at heart. Allô, Dior…?

Here the designer sums up, perfectly, what jewelry means in the greater sense of love, art, and life: Jewelry has a lot of symbolic charge. It’s attached to seduction, like a gift from a man to a woman that he loves. Or it’s something that you keep and want to give to your daughter. It can mean sex, because some women are making love for jewelry! It can also be something violent, like someone is going to kill you for it. Jewelry can be a weapon for a woman, too. It’s always connected to big romantic stories. I love that.

Moi aussi. Absolument.

Please stop by again in a few days, I’ll have my review then…

Chanel is why I love a fashion runway, even the house’s design master, Karl Lagerfeld, wears great jewelry when he takes his bow. The theme this time was geodes and crystals, set raw and uncut, the way they come out of the ground (with the exception of perhaps the bright purple geode bracelet that appears to have some color added to create that brilliant shade). At Alexander McQueen, the layers of chiffon petals and fur were reined into an aching lovely bouquet at the waistline with sculpted belts, which were the only real structure provided. I threw in the Marc Jacobs/Louis Vuitton coat as a sign-off for Paris Fashion Week Fall 2012, and no your eyes do not deceive you, there isn’t any jewelry on the jacket. The coat is all about an A-line shape, rounded collar, and beautiful brooch-sized buttons.

Kenzo Fall 2012

Kenzo Fall 2012

Jean Paul Gaultier Fall 2012

Givenchy Fall 2012

Chanel Fall 2012

Chanel Fall 2012

Chanel Fall 2012

Alexander McQueen Fall 2012

Louis Vuitton Fall 2012

Christian Dior Fall 2012

When palettes collide and patterns mix, the results can be unassumingly brilliant. The blending of hues in this Nina Ricci look was difficult to see at first; however upon closer inspection you realize the subtle depth created in the mix.

Nina Ricci Fall 2012

Alber Elbaz for Lanvin went to “la porte” for inspiration. No, not the dockyards, but quite literally, the front door. A lion mask first met the audience, who was anxious to be let in. The House greeted visitors with lantern-sized faux gems and pendants inspired by antique Venetian mirrors. More than a little surrealism was involved too. When it comes to Paris Fashion Week, aren’t we all rouged lips, bejeweled hands, and spying eyes? Welcome to Lanvin, where the decorative becomes bedizened and the house becomes the woman.

Lanvin Fall 2012

Lanvin Fall 2012

Lanvin Fall 2012

Lanvin Fall 2012